CCCC 2014

Notas del editor

• #3: According to the NPD Group, there are 64 million video gamers between the ages of 2 and 17 in the United States. That number is roughly equivalent to the populations of California (pop = 38m) and Texas (pop = 26m) combined. Over the next 15 years, nearly 25 million of these young gamers will enter college writing classrooms.
• #4: As a result of this growing trend, educators increasingly recognize the impact of video games on their students and utilize games as teaching devices in a number of classrooms. According to literacy scholar James Paul Gee, video games offer more than just play; they help students acquire knowledge, develop life skills, and reinforce positive habits. Specifically, Gee argues that these domains are not static objects defined only by their content; on the contrary, according to Gee, semiotic domains are predicated on lived, historically changing sets of distinctive social practices in which content is continually renegotiated and transformed (Gee 20).
• #5: By underscoring multiple approaches to writing and composition, video games have to potential to permit students to take ideas from so-called “good” writing in an attempt to discover how the discrete elements of writing are represented in games, which may engage writers more deeply and personally with the process of writing as cultural production, because such a process not only grants access to the teacher’s cultural (writing) authority, providing the added legitimacy of writing instruction, but also positions students as researchers and writers who discover and form a variety of academic and/or literary “voices” from within simulations.
• #6: Generalizable theories of writing and composition urge students to find an “authentic” voice through the practice of writing. For example, generalizable theories like expressionism tend to emphasize the individual and focus on the human subject as a static, autonomous, agential being that precedes expression. In “Rhetoric and Ideology in the Writing Class,” James Berlin traces key critiques of expressionism, noting that expressionism, emphasizes the autonomous individual subject as the creator of meaning (Berlin 484). The significance here is that, generalizable theories, like the expressionist paradigm, rely on a stable, autonomous self, which necessarily encourages writers to discard any material that is not “true” or “authentic.” As such, these theories may at worst omit, and at best fail to adequately account for, the dynamic and historically changing sets of social practices that comprise writing. More importantly, however, such theories stand in contrast to Gee’s recognition of a continual renegotiation, which, he argues, is a generative (or inventive) practice. Thus generalized theories of writing may foreclose, rather than open, inventive possibility for student writers.
• #7: For Gilles Deleuze, however, being does not precede expression. Rather, he sees expression as entangled with being and not limited to a location within a singular individual (Deleuze 1). I express. I am expressed. Something expresses itself through me. In other words, individuals are “selves” in constant flux. According to Deleuze, writing helps us palpate this flux (Hilst 8). Deleuze says that writing and becoming are “always incomplete, always in the midst of being formed” (Deleuze 1). However, if writing itself is always incomplete and in constant flux, educators must move beyond a concept of composition that is based solely on the expressions of the experiences of a self, to a concept of composition that engages with a syntactic analysis of writing’s flux. For first-year composition students, teachers might create video games designed with a specific focus on writing and composition, and such games may effectively facilitate students’ recognition of and solutions to some common problems that arise from the expressionist myth that “good” writing stems from an “authentic” self.
• #8: Deleuze says that writing is inseparable from becoming and that both are “always incomplete, always in the midst of being formed.” However, since writing itself is always incomplete and in constant flux, how might educators move beyond a concept of composition that is based solely on the experiences of a self, to a concept of composition that engages with a syntactic analysis of writing’s flux? Video games seem to be particularly suited for providing a virtual consciousness in which students are free to engage in expressive experimentation. According to Gee, video games offer players the practice of perpetual renegotiation, which is a crucial part of critical learning. For example, Gee says that when playing video games, “[t]he learner needs to learn not only how to understand and produce meanings in a particular semiotic domain that are recognizable to those affiliated with the domain, but, in addition, how to think about the domain at a ‘meta’ level…[and] how to produce meanings that, while recognizable, are seen as somehow novel or unpredictable” (Gee 23).
• #9: In “Deleuze: Neo-Expressivism in Composition,” Joshua Hilst argues that experimentation with voices is key to thinking about the domain of writing at a meta level (Hilst 3). Specifically, Hilst challenges the expressionist concept of voice, contending that the idea of the self as an autonomous unit must be abandoned before students can be free to experiment with voice as a means of discovering other possibilities.
• #10: In “Deleuze: Neo-Expressivism in Composition,” Joshua Hilst argues that experimentation with voices is key. Hilst challenges the expressionist concept of voice, contending that the idea of the self as an autonomous unit must be abandoned before students can be free to experiment with voice as a means of discovering other possibilities.
• #11: In “Deleuze: Neo-Expressivism in Composition,” Joshua Hilst argues that experimentation with voices is key. Hilst challenges the expressionist concept of voice, contending that the idea of the self as an autonomous unit must be abandoned before students can be free to experiment with voice as a means of discovering other possibilities.
• #12: In “Deleuze: Neo-Expressivism in Composition,” Joshua Hilst argues that experimentation with voices is key. Hilst challenges the expressionist concept of voice, contending that the idea of the self as an autonomous unit must be abandoned before students can be free to experiment with voice as a means of discovering other possibilities.
• #13: By invoking what Hilst terms “voice-non-voice,” or the possibility for a number of voices, expressive experimentation has the potential to shift the focus from what things mean to how they mean, to engage with writing’s constant flux. video games allow writers to consider the discrete elements of writing independently of the sign systems that bestow these elements with their meaning(s) by underscoring the importance of systemic thinking as it pertains to writing. Thus, video games designed with a focus on writing and composition could encourage student writers to take possession of their writing, filtering it through their own interests and talents. In short, video games allow players to act and interact within and on simulations by discovering and/or forming goals while recognizing and solving problems from within simulations. Therefore, by positioning students as researchers and writers who discover and form goals from within simulations, video games designed with a specific focus on writing and composition may give players confidence to play with existing structures of so-called “good writing” with the intent to better experience writing’s flux, facilitating the “voice-non-voice” that Hilst advances.
• #14: For example, even a cursory examination of a simple game like PacMan indicates both a structured reality in the form of the maze, the white dots, and the ghosts and the presence of a goal, which is PacMan’s (or the player’s) navigation through the maze, while avoiding the ghosts and eating all of the white dots on the screen. As such, video games like PacMan allow players to act and interact within and on the simulation by discovering and/or forming goals while recognizing and solving problems from within the simulation. DURING TRANSITION: Through these simulations, video games invite players to interact with real and imagined systems, without locating expression within a singular consciousness. Games are a type of representational medium in that, like all art, they have the ability to represent cultural, social, and human experiences; however, games are distinctive in that they also have the ability to unveil their own procedural production by representing human experience in rules and code. That is, video games invite players to interact with real and imagined systems, without locating expression within a singular consciousness.
• #15: The title of Jesper Juul’s book Half Real points to the hybridity of video games, and the author argues that “to play a video game is…to interact with real rules while imagining a fictional world” (Half-Real 2). That is, according to Juul, video games are “a combination of rules and fiction” (Half-Real 197). Due to their hybrid consciousness, video games can be viewed from two distinct frames of reference: game design and game play. The “real” is the game’s design, and the “fictional” is the game’s play. Significantly, according to Juul, a game’s interest does not derive solely from design, nor solely from play, but rather from the interaction of the two (Half-Real 90-1). For example, video games do not merely require the player’s and/or designer’s presence; in order to result in a unique experience for each user, games also require the player to make choices (“fiction”), which necessitates the designer’s anticipation of those choices (“rules”). In the best cases, video games create worlds and mechanics that allow players to decide what meanings to give the text, while empowering users to determine how those meanings manifest in their own play. Thus, while playing video games, students might become aware of the many frameworks that constitute expression.
• #16: In other words, video games designed with a specific focus on writing and composition could encourage students to parse consciousness and voice, rather than “solve” or “acquire” them in the traditional expressionist manner. More specifically, by playing video games focused on writing and composition, students are exposed to frameworks of expression that permit them to experiment with “the falsehood in ‘choosing’ an academic voice” (Hilst 11). For example, at their discretion, students may choose to omit and/or add constructs of so-called “good” writing to their game play, in individual contributions to an ever-growing and limitlessly-expanding version of their written texts. Such varied iterations exhibit the paradox of simultaneously contradicting and complementing previous “drafts,” which works to create a broader understanding of the concept of academic voice because in such games, the variations to voice remain open and are constantly increasing (Hilst 11). That is, by highlighting the paradox of simultaneous complement/contradiction, video games focused on writing and composition might allow students to uncover the ways in which (“good”) writers filter their understandings of texts through a variety of (seemingly disparate) “voices.”
• #17: For example, video games present a consistent tension between winning and failure, and this tension enacts “voice-non-voice” experimentation. Just as Juul suggests that game design interacts with game play to constitute interest, he asserts a similar symbiotic relationship between failure and winning. Rather than positioning failure in opposition to winning, Juul contends that failure in video games is central to enjoyment and experiences of depth. Video games might allow students to play with “the artifice of creating another voice” (Hilst 11). Rather than positioning failure in opposition to winning, Juul contends that failure in video games is central to enjoyment and experiences of depth (Juul 5).
• #18: That is, failure adds content, since nothing is “corrected” or “rewritten.” In fact, the unexpected material produced by video games can form the basis for further composition in a free-association that creates text. In this sense, we might say that “failure” in video games is tantamount to unexpected material that forms the basis for further composition. Voice-non-voice experimentation demands this unexpected material; it requires failure. Juul says that winning without failing leads to dissatisfaction. In fact, Juul argues that “failure is an integral element of the overall experience of playing a game” and that failure in games serves as “a motivator, something that helps us reconsider our strategies and see the strategic depth in a game,” offering “clear proof that we have improved when we finally overcome it” (Juul 9). This is significant because failure in video games challenges players’ preconceived notions of success by pointing out instances of failure. However, Juul also notes that games are often “ritualistic, repeatable, and laden with symbolic meaning,” offering a “parody of emotional vulnerability” in which players might experience precarious voices “in transformed, masked, or hidden form” (Juul 26-7). With this in mind, failure in video games no longer reflects “natural” abilities, but rather this “fictional” failure is impersonal, since games are “artificial constructs with no bearing on the regular world” (Juul 21).
• #19: Relatedly, and perhaps most importantly, winning without failing eliminates surprise, dictating what is possible in advance. By working in favor of the unexpected—or surprise—video games focused on writing and composition could allow students to play with different memories and different expressions in an endlessly renewable model that actualizes in infinite ways. To use Hilst’s terms, without the “non-voice” of “voice-non-voice,” writing would not be so satisfying. Writing without “non-voice” likewise eliminates surprise, limiting inventive possibilities. In other words, video games designed with a specific focus on writing and composition could encourage students to parse consciousness and voice, rather than “solve” or “acquire” them in the traditional expressionist manner, shifting the focus from what things mean to how things mean, which, in turn, would broaden their senses of invention to a world outside the conscious self.
• #20: Video games designed with a specific focus on writing and composition may help students transgress pedagogies that present them with forced choices, enabling them to enact their own learning methods by playing with “the falsehood in ‘choosing’ an academic voice” and “the artifice of creating another voice” (Hilst 11). Whereas expressionist theories posit that a stable, human subject speaks, encouraging writers to find the most “appropriate” voice as a means of achieving an “authentic” voice, the surprise inherent in video games might help students better understand that the human subject is expressed just as often as it expresses
• #21: Significantly, such an understanding, according to Hilst, has the potential to transform writing from a codified task into a bold experiment for constructing both voices and non-voices. Through the voice-non-voice experimentation inherent in video games, writing could become what Hilst calls an attempt “not at expressing the self, but expressing something else” in “a quest to find what it is that is trying to be expressed.”